Macromedia Ultra - CS3 User Guide
ADOBE® ULTRA® CS
USER GUIDE
3
© 2007 Adobe Systems Incorporated. All rights reserved.
Adobe® Ultra® CS3 User Guide for Windows®
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Contents
Chapter 1: Getting started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
Installing the software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
Choosing PAL or NTSC video format. . . . . . . . . . . . . . . . . . . . . . . . . . .9
ReadMe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Adobe Help resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
In-product and LiveDocs Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
PDF documentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Printed documentation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Adobe Video Workshop. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Community of presenters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Tutorials and source files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
Using Adobe Video Workshop. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Extras . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Adobe Design Center . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Adobe Developer Center . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Customer support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Downloads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Adobe Labs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
User communities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Essential features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Chapter 2: Quick-start session . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Step-by-step workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Tutorial . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Chapter 3: Product overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Layers, inputs, and virtual sets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Active layer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Virtual sets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
User interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27
Input area and Input Preview Monitor . . . . . . . . . . . . . . . . . . . . . . . . . 28
Layer thumbnails . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
3
Controls under the Input Preview Monitor . . . . . . . . . . . . . . . . . . .30
Tool buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30
Output Preview Monitor and previewing the output . . . . . . . . . . . . . 31
Magnifying and repositioning the view in the monitors. . . . . . . . . . . 33
Sliders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Grid controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Timecode fields . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Tabs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Keyer tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Colors tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Scene tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40
Pan & Zoom tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Input tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Shadows tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
Output tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Libraries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Application menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
File menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
View menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Tools menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50
Play menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50
Help menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Right-click context menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Text and number boxes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Background and Input Clip thumbnails . . . . . . . . . . . . . . . . . . . . . . 51
Overlay thumbnail. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52
Output Preview Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Grid controls on the Scene, Input, and Pan & Zoom tabs . . . . . . 52
Items on the Virtual Sets, Backgrounds, Output Clips, Sessions,
and Browse library tabs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Blank spot on one of the library tabs . . . . . . . . . . . . . . . . . . . . . . . . 53
Chapter 4: How to . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Creating and managing Ultra sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Creating a session. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55
Changing the default virtual set. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Opening a session. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Saving a session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Changing the default session’s path . . . . . . . . . . . . . . . . . . . . . . . . 56
Saving a copy of a session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Working with a session on a different computer . . . . . . . . . . . . . . . . 56
Creating and assigning sources and virtual sets . . . . . . . . . . . . . . . . . . . 57
Shooting video for Ultra. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Live Preview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Setting up the camera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
4
Controlling the lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Framing the subject . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Optimizing the color screen backdrop . . . . . . . . . . . . . . . . . . . . . . 60
Reducing spill. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Choosing the subject’s wardrobe . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Choosing the background or virtual set . . . . . . . . . . . . . . . . . . . . . 62
Directing on a virtual set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Improving the quality of the source footage and facilitating record-
ing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Assigning content to layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Assigning source content to a layer . . . . . . . . . . . . . . . . . . . . . . . . 63
Matching the aspect ratio of a basic set’s background with a ses-
sion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Matching input clips and virtual sets . . . . . . . . . . . . . . . . . . . . . . . . 65
Adding overlay layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Using a still image as the input clip . . . . . . . . . . . . . . . . . . . . . . . . . 66
Supported input formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67
Creating elements for a set or individual layers . . . . . . . . . . . . . . . . . 68
Backgrounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Overlays. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70
Finished, composited scene . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Advanced compositing tasks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72
Customizing a virtual set. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73
Editing virtual set images. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74
Moving virtual sets to an alternate location . . . . . . . . . . . . . . . . . . . . .75
Copying a single virtual set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75
Setting the key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76
Keying methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Improving a background in the input clip . . . . . . . . . . . . . . . . . . . . . . . 77
Set Key. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
Setting Key Points (Apply Points Method) . . . . . . . . . . . . . . . . . . . . .79
Single Key Point Method (One Color Pickup) . . . . . . . . . . . . . . . .79
Multiple Key Points Method (Color Spread) . . . . . . . . . . . . . . . . . 80
Keeping the shadow in an input clip . . . . . . . . . . . . . . . . . . . . . . . . 82
Cropping and spot masking the source clip. . . . . . . . . . . . . . . . . . . . 83
Cropping the edge of a frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Painting a mask . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Fine-tuning the Keyer settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Viewing the key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Basic keying workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Saving and applying Keyer settings . . . . . . . . . . . . . . . . . . . . . . . . 88
Positioning layers and performing virtual camera moves . . . . . . . . . . 88
Differences between sets of Position controls . . . . . . . . . . . . . . . . . 89
Adjusting the framing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Setting the size, position, and orientation of a layer plane . . . . . . . . 91
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Changing the position and scale of a layer plane . . . . . . . . . . . . . 92
Changing the orientation of a layer plane . . . . . . . . . . . . . . . . . . . . 93
Positioning insets in custom virtual sets . . . . . . . . . . . . . . . . . . . . . 94
Moving and scaling an input within the layer plane: Input Offset con-
trols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Moving and flipping the input vertically and horizontally . . . . . . . 97
Rotating the input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Changing the scale of the input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Returning all grid settings to the defaults . . . . . . . . . . . . . . . . . . . .99
Panning and zooming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .99
Grid control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Adding and setting a pan and zoom point. . . . . . . . . . . . . . . . . . . .101
Changing a pan and zoom point . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Programming a continuous virtual move with multiple points . 103
Programming multiple moves with pauses . . . . . . . . . . . . . . . . . . 103
Panning and zoom with different aspect ratios . . . . . . . . . . . . . . 103
Viewing a session without virtual camera moves . . . . . . . . . . . . 103
Achieving the correct timing for video clips. . . . . . . . . . . . . . . . . . . . . . 104
Trimming the In and Out Points in a video clip . . . . . . . . . . . . . . . . . 104
Looping the clip. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Specifying when a video clip begins playing in the session. . . . . . 105
Setting a pause point for a VirtualTrak effect . . . . . . . . . . . . . . . . . . 107
Adjusting the volume of a video clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Fine-tuning the appearance of the video . . . . . . . . . . . . . . . . . . . . . . . . 107
Correcting colors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Making color corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Saving and applying color settings. . . . . . . . . . . . . . . . . . . . . . . . . .110
Adding shadows and reflections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
Enabling a shadow or reflection and making it the active one . . 111
Changing the position of a floor shadow. . . . . . . . . . . . . . . . . . . . .112
Changing the position of a wall shadow . . . . . . . . . . . . . . . . . . . . .116
Changing the appearance of a shadow or reflection . . . . . . . . . . 116
Saving and applying settings for a shadow or reflection . . . . . . .118
Defocusing a source. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119
Saving the finished video. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .119
Outputting still images (Frame Sequence) . . . . . . . . . . . . . . . . . . . . 122
Outputting clips or stills with an alpha channel. . . . . . . . . . . . . . . . . 122
Chapter 5: Troubleshooting and getting help . . . . . . . . . . . . . . . 123
Updating software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Updating Ultra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Updating device drivers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Updating the Windows® operating system . . . . . . . . . . . . . . . . . . . . 124
Technical Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
6
Technical support web pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124
Run the DirectX Diagnostic Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . .124
StatusLog.txt file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125
Symptoms and solutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127
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CHAPTER 1
Getting started
If you haven’t installed your new software, begin by reading some information on installation
and other preliminaries. Before you begin working with your software, take a few moments to
read an overview of the many resources available to you. You have access to instructional
videos, plug-ins, templates, user communities, seminars, tutorials, RSS feeds, and much more
for various Adobe products.
Installation
Installing the software
To review complete system requirements and recommendations for your Adobe® software,
refer to the ReadMe file on the installation disc.
1. Quit any other Adobe applications running on your computer.
2. Insert the installation disc into your DVD drive, and follow the on-screen instructions.
NOTE
Be sure to first install and activate at least one component of Adobe Creative Suite 3
Production Premium or Master Collection. Adobe Ultra CS3 will only start on a computer
on which Adobe Creative Suite 3 Production Premium or Master Collection has been
activated.
1
Choosing PAL or NTSC video format
When you run the program for the first time, you select either NTSC or PAL as the default
video format for new sessions. PAL and NTSC are two common standards for standarddefinition broadcast television, each used in different regions of the world. The format that
you choose affects the options that are available on the Output tab.
NOTE
To change the default video format for new sessions, select Tools > Application Settings.
9
ReadMe
The ReadMe file on the installation disc is also copied to the application folder during
product installation. Open the file to read important information about the following topics:
■ System requirements
■ Installation (including uninstalling the software)
Troubleshooting
Customer support
Legal notices
Resources
Adobe Help resources
Documentation for your Adobe software is available in a variety of formats.
In-product and LiveDocs Help
In-product Help provides access to all documentation and instructional content available at
the time that the software ships. You can access in-product Help by choosing Help > Adobe
Ultra Help, or by pressing F1.
LiveDocs Help includes all the content from in-product Help, plus updates and links to
additional instructional content available on the web. For some products, you can also add
comments to the topics in LiveDocs Help. Find LiveDocs Help for your product in the Adobe
Help Resource Center, at www.adobe.com/go/documentation.
Most versions of in-product and LiveDocs Help let you search across the Help systems of
multiple products. Topics may also contain links to relevant content on the web or to topics
in the Help of another product.
Think of Help, both in the product and on the web, as a hub for accessing additional content
and communities of users. The most complete and up-to-date version of Help is always on the
web.
PDF documentation
The contents of in-product Help are also available as a PDF that is optimized for printing.
Other documents, such as installation guides and white papers, may also be provided as
PDFs.
10 Getting started
All PDF documentation is available through the Adobe Help Resource Center, at
www.adobe.com/go/documentation. To see the PDF documentation included with your
software, look in the Documents folder on the installation or content disc.
Printed documentation
Printed editions of the contents of in-product Help are available for purchase in the Adobe
Store, at www.adobe.com/go/store. You can also find books published by Adobe publishing
partners in the Adobe Store.
A printed workflow guide is included with all Adobe Creative Suite® 3 products, and some
stand-alone Adobe products include a printed getting started guide.
Adobe Video Workshop
The Adobe Creative Suite 3 Video Workshop offers over 200 training videos covering a wide
range of subjects for print, web, and video professionals.
You can use the Adobe Video Workshop to learn about any Creative Suite 3 product. Many
videos show you how to use Adobe applications together.
When you start the Adobe Video Workshop, you choose the products you want to learn about
and the subjects you want to view. You can see details about each video to focus and direct
your learning.
Community of presenters
With this release, Adobe Systems invited the community of its users to share their expertise
and insights. Adobe and Lynda.com present tutorials, tips, and tricks from leading designers
and developers such as Joseph Lowery, Katrin Eismann, and Chris Georgenes. You can see and
hear Adobe experts such as Lynn Grillo, Greg Rewis, and Russell Brown. In all, over 30
product experts share their knowledge.
Tutorials and source files
The Adobe Video Workshop includes training for novices and experienced users. You’ll also
find videos on new features and key techniques. Each video covers a single subject and
typically runs about 3-5 minutes. Most videos come with an illustrated tutorial and source
files, so you can print detailed steps and try the tutorial on your own.
Resources 11
Using Adobe Video Workshop
You can access Adobe Video Workshop using the DVD included with your Creative Suite 3
product. It’s also available online at www.adobe.com/go/learn_videotutorials. Adobe will
regularly add new videos to the online Video Workshop, so check in to see what’s new.
Extras
You have access to a wide variety of resources that will help you make the most of your Adobe
software. Some of these resources are installed on your computer during the setup process;
additional helpful samples and documents are included on the installation or content disc.
Other useful extras are also offered online by the Adobe Exchange community, at
www.adobe.com/go/exchange.
During software installation, a number of resources are placed in the application folder on
your computer: [startup drive]\Program Files\Adobe\Adobe Ultra CS3.
Ultra tutorials are available on the Adobe website at www.adobe.com/support/ultra. Click the
Tutorials link to see the tutorials. The video files referred to in the tutorials are located in the
folders in the Browse tab in Ultra.
Adobe Design Center
Adobe Design Center offers articles, inspiration, and instruction from industry experts, top
designers, and Adobe publishing partners. New content is added monthly.
You can find hundreds of tutorials for design products and learn tips and techniques through
videos, HTML tutorials, and sample book chapters.
New ideas are the heart of Think Tank, Dialog Box, and Gallery:
Think Tank articles consider how today’s designers engage with technology and what their
experiences mean for design, design tools, and society.
In Dialog Box, experts share new ideas in motion graphics and digital design.
The Gallery showcases how artists communicate design in motion.
Visit Adobe Design Center at www.adobe.com/designcenter.
Adobe Developer Center
Adobe Developer Center provides samples, tutorials, articles, and community resources for
developers who build rich Internet applications, websites, content for mobile devices, and
other projects using various Adobe products. The Developer Center also contains resources
for developers who develop plug-ins for Adobe products.
12 Getting started
In addition to sample code and tutorials, you'll find RSS feeds, online seminars, SDKs,
scripting guides, and other technical resources.
Visit Adobe Developer Center at www.adobe.com/go/developer.
Customer support
Visit the Adobe Support website, at www.adobe.com/support, to find troubleshooting
information for your product and to learn about free and paid technical support options.
Follow the Training link for access to Adobe Press books, a variety of training resources,
Adobe software certification programs, and more.
Downloads
Visit www.adobe.com/go/downloads to find free updates, tryouts, and other useful software.
In addition, the Adobe Store (at www.adobe.com/go/store) provides access to thousands of
plug-ins from third-party developers, helping you to automate tasks, customize workflows,
create specialized professional effects, and more.
Adobe Labs
Adobe Labs gives you the opportunity to experience and evaluate new and emerging
technologies and products from Adobe.
At Adobe Labs, you have access to resources such as these:
Prerelease software and technologies
Code samples and best practices to accelerate your learning
Early versions of product and technical documentation
Forums, wiki-based content, and other collaborative resources to help you interact with
like-minded designers and developers
Adobe Labs fosters a collaborative software development process. In this environment,
customers quickly become productive with new products and technologies. Adobe Labs is also
a forum for early feedback, which the Adobe development teams use to create software that
meets the needs and expectations of the community.
Visit Adobe Labs at www.adobe.com/go/labs.
Resources 13
User communities
User communities feature forums, blogs, and other avenues for users to share technologies,
tools, and information. You can ask questions and find out how others are getting the most
out of their software. User-to-user forums are available in English, French, German, and
Japanese; blogs are posted in a wide range of languages.
To participate in forums or blogs, visit www.adobe.com/communities.
Essential features
Get superior keying results even from marginal sources.
Using Ultra Vector Keying™ technology, shots that used to be difficult to key—uneven
lighting, wrinkled backgrounds, and frizzy hair—can be keyed in minutes. Ultra will even
preserve the shadows of your subject and achieve complex keys with scene elements such as
smoke, liquids, and transparent objects with minimal effort.
One-click keying
Ultra offers an extraordinary one-click keying feature for faster keying. Advanced controls,
such as spill suppression, color restoration, and edge softening, can also be applied to finetune composites.
Sophisticated virtual sets made simple
Master Sets Libraries add high-end virtual set systems to Ultra. When used in conjunction
with Ultra, these libraries can save you time and money by eliminating the need to rent
specialized motion tracking cameras and 3D graphics workstations. Master Sets Libraries
simulate conventional motion tracking by using the Ultra VirtualTrak™ system, which creates
virtual camera moves from stationary camera shots and inserts video reflections into virtual
scenes.
Broadcast quality using DV/HDV/HD
Ultra can use 16:9 widescreen and anamorphic widescreen sources, and it delivers excellent
results from the reduced color bandwidth of DV video sources. Ultra also supports HD and
HDV frame dimensions, including 1080i, 1080p, and 720p, with support for a variety of
standard frame rates, including 24 fps.
14 Getting started
High-speed GPU keying
Ultra allows users with newer graphics cards (GeForce 5700 and Radeon 9600 or better for
standard-definition video; GeForce 6600 and Radeon 9800 or better for high-definition
video) to dramatically increase rendering speeds by shifting processing to the graphics
processing unit (GPU). Using GPU-based processing, Ultra can typically perform vector
keying in near-real time at HD resolution (depending on system configuration and file types).
High-resolution keying with standard-definition cameras
Ultra offers a Plus-90 mode to allow standard-definition cameras to generate footage for use
in high-definition scenes. Video frames are wider than they are tall, yet human subjects are
taller than they are wide. To make the optimum use of the greatest number of pixels for
shooting a subject, you can rotate your camera 90 degrees, using the longer axis of the frame
as the new vertical axis. This provides an additional 33% of vertical resolution when using a
video format with a 4:3 frame aspect ratio, and an additional 78% of vertical resolution when
using a video format with a 16:9 frame aspect ratio.
Virtual shadows and reflections
You can use Ultra to insert virtual shadows into a scene. You can then adjust the shadow's size,
perspective, and transparency. When using photographic or rendered backgrounds, you can
insert virtual reflections displaying an inverted image of the keyed subject.
Create custom virtual environments
Add your own backgrounds, B sources, and semi-transparent foreground images to create
your own virtual environments, complete with multiple-point pans and zooms. Large, highdefinition custom background images can be explored with complex camera moves.
Support for high-resolution stills
Ultra offers support for high-resolution stills up to 4096x4096 pixels, allowing digital images
to be used as high-definition input sources and backgrounds. With image support for BMP,
JPG, PNG, TIFF, TGA, and PPM files, users can export high-resolution keyed stills for
further editing or output to print or the web.
Essential features 15
Extensive input and output
Video formats supported for input include AVI, QuickTime, MPEG, DV, and any format for
which you have a compatible codec installed. The Invert Alpha option inverts alpha channels
for compatibility with non-linear editing systems that use film alpha (interpret an alpha
channel value of 0 as complete opacity). Output files can be uncompressed AVI, DV, or
QuickTime. AVI and QuickTime files can be output using 24 bits per pixel or 32 bits per
pixel (with an 8-bit alpha channel). Output files with alpha channels can be used directly by
other programs, such as Adobe After Effects, for further compositing.
16 Getting started
CHAPTER 2
Quick-start session
Step-by-step workflow
The following is an overview of the general workflow for creating a session, compositing, and
exporting a movie with Adobe® Ultra® CS3.
NOTE
Steps 1, 4, and 10 are required.
Step 3 is required for the source input layer; other layers are optional.
Steps 5 through 9 may be optional, depending on the virtual set and sources that you
use and what you’re trying to accomplish in the scene.
Create a session with the appropriate frame aspect ratio: Choose File > New > New 4:3
Session or File > New > New 16:9 Session. (See
on page 55.)
Assign a virtual set. (See “Assigning content to layers” on page 63.)
3. Assign a source to each layer. (See “Assigning content to layers” on page 63.)
4. Key the input clip. (See “Setting the key” on page 76.)
5. Trim the video clips to the desired length, and specify whether each clip will loop. (See
“Cropping and spot masking the source clip” on page 83.)
6. Specify the scale, position, and orientation for each layer plane. Note that some layers in
virtual sets may be locked, so you can’t change them. It is best to set up the scale and
position of the input clip and other layers at the beginning of the session. (See
size, position, and orientation of a layer plane” on page 91.)
7. Position each input source on its layer plane. Use the Input Offset controls, which are at
the center of the Input tab, to move and scale the active layer within its layer plane. (See
“Moving and scaling an input within the layer plane: Input Offset controls” on page 95.)
8. Program the virtual camera moves and panning and zooming effects. (See “Panning and
zooming” on page 99.)
9. Modify the video and audio as needed.
“Creating and managing Ultra sessions”
“Setting the
2
17
■ Add virtual shadows or reflections. (See “Adding shadows and reflections”
on page 111.)
■ Correct color. (See “Correcting colors” on page 108.)
■ Defocus the sources. (See “Defocusing a source” on page 119.)
■ Adjust the audio volume of the clips. (See “Adjusting the volume of a video clip”
on page 107.)
10. Export the finished movie. (See “Saving the finished video” on page 119.)
Tutorial
The following is a step-by-step example of a simple NTSC session that uses NTSC sample
files included with Ultra.
1. Start Ultra.
2. Drag a background from the Animations folder on the Backgrounds tab onto the
Background thumbnail.
3. On the Browse tab, double-click the NTSC Sample Clips folder to open it. Drag the
Hands Apart (Wedding) clip onto the Input Clip thumbnail.
NOTE
The first frame in this clip shows only the greenscreen background. The method
described in this tutorial only works for clips that have at least one frame that is a shot
of only the background color screen.
4. Click the Set Key button on the Keyer tab. If the controls on the Keyer tab are disabled,
click Input Clip thumbnail.
5. Drag the slider under the Output Preview Monitor to the time of 1 seconds (00:00:01.00),
or enter this timecode in the timecode text box. A video frame showing two hands appears
on the Output Preview Monitor.
6. On the Input tab, click the Set button to the right of the In Point text box. This makes it
so that the first frame to appear in the movie is the frame at the time of 1 second in the
input clip.
7. Move the Transparency slider on the Keyer tab to the left to 0.350, or type that value in
the adjacent text box. The two hands become opaque.
NOTE
The Hands Apart clip has a well-lit, even background that can be keyed out well with
only this one adjustment. Some backgrounds require more manual fine-tuning to
achieve a clean, convincing key. For more information, see
settings” on page 84.
Quick-start session
“Fine-tuning the Keyer
8. (Optional) To view the resulting composited video, click the Play button under the Output
Preview Monitor.
9. In the Output tab, choose DirectShow (.avi) from the Format menu, and choose MJPEG
Compressor.
10. Make sure that the Folder that you are exporting to is set to \My Documents\Adobe Ultra
CS3\My Output Clips.
11. (Optional) Change the name of the file in the File Name field.
12. Click Save Output. Ultra renders the movie.
13. To view the movie that you’ve just created, right-click the thumbnail image for the new
video file on the Output Clips tab, and choose Play. If you do not see your video in the
Output Clips tab, click the Home button in the navigation bar.
Tutorial 19
20 Quick-start session
CHAPTER 3
Product overview
Overview
Adobe® Ultra® CS3 is a stand-alone keying and compositing application designed to use many
kinds of video sources. The keying process starts with loading a virtual set, video clips, or
both. You then calibrate the keyer, change any settings as needed, and record the output to a
video file for use in an editing application, such as Adobe Premiere Pro or Adobe After
Effects. Ultra is compatible with many standard video formats and has been fine-tuned to
provide high-quality output and smooth performance, even with DV clips. You can
immediately see any changes to the keyer quality settings.
Ultra exceeds other tools in many ways. One of the most noteworthy and powerful ways is
that Adobe offers a wide range of virtual sets that provide background and, in many cases,
foreground elements for video clips. Virtual sets come in collections known as master sets that
have a variety of camera angles for the same virtual 3D environment. Available in packages
known as Master Sets Libraries, most master sets have at least one set with virtual camera
motions that use the Adobe VirtualTrak camera tracking system. You can use your own
videos, digital images, and graphics as backgrounds, foregrounds, and insets for composited
movies created in Ultra.
Ultra contains advanced features and innovations that separate it from conventional chroma
keyers (color keyers).
With Live Preview, you can adjust the lighting, camera placement, angle, and zoom to fit
the set that you are using before you shoot the source footage.
Dynamic controls let you adjust the size, position, and orientation of the source video and
other layers in the virtual set.
Up to four independent overlays let you easily customize virtual sets and add dimension
to composited movies.
The pan and zoom features let you add virtual camera moves and zooms to scenes.
The GPU Boost feature substantially speeds up keying and compositing.
3
21
Layers, inputs, and virtual sets
A) Composited output B) Overlay C) Input clip (subject) D) Background E) Source B (inset)
Input name Definition
Virtual set All Ultra sessions have a virtual set. A virtual set can be as simple as one of
the Simple Keyed virtual sets—which are empty sets—or as complex as one of
the sets in the Master Sets Libraries. Some virtual sets have transparent
(alpha) regions for insets, with a predefined scale, position, and orientation.
Some virtual sets also have foreground elements such as doors, desks, and
podiums. To customize the colors or otherwise manipulate the layers of a
virtual set, you must switch from the standard User-Defined Inputs mode to
the Pre-Defined Inputs mode (View > Displayed Inputs > Pre-Defined). For
more information about virtual sets, see
Ultra comes with a few included virtual sets, including one of the Master Sets
Libraries, MSL1. Adobe sells additional collections of virtual sets as Master
Sets Libraries. You can also create your own custom virtual sets.
“Virtual sets” on page 24.
22 Product overview
Input name Definition
Background This is typically the main layer behind the subject, filling the entire frame. The
background can have one or more alpha regions that show through to insets
behind it.
You usually set backgrounds only in sessions that use one of the basic virtual
sets. In most cases, advanced virtual sets define their own backgrounds;
virtual sets that show the input clip as an inset are the only ones that let you
define a background. The virtual set defines the foreground around the inset,
but the Background assignment defines the background for the input clip.
Input Clip or
Live Preview
Source B,
Source C, and
so on
Overlay 1,
Overlay 2,
Overlay 3, and
Overlay 4
For example, in the Museum Painting Center (MSL1) virtual set, the
represents the input clip. Some shots in the Master Sets Libraries are tightly
framed shots of one of the virtual monitors in the set. In these shots, the input
clip and the background are both scaled inside the monitor frame, with the
background behind the input clip.
By adjusting the scale, position, and orientation of the Background layer, you
can essentially turn it into a midground layer that sits behind the subject, but
does not fill the frame. In this case, you typically use an inset (Source B) to fill
the frame. For an example of this type of a session, see Ultra Tutorial #7 on
the Ultra support web page,
This is the main video source shot against a greenscreen or bluescreen,
which you key and composite with the other layers. It sits behind the overlays
but in front of all of the other layers, and is sometimes referred to as the
subject. When the subject is a person, the term talent is sometimes used.
The layers identified as Source B, Source C, and so on (also called insets) sit
behind the background. In most cases, they appear as insets that show
through transparent regions in the background. The number of insets is
defined by the virtual set. Each inset is a separate layer.
Overlays sit in front of everything else in the composited scene. They almost
always have an alpha channel that defines transparent and semi-transparent
areas so that you can see through to the underlying layers, but you can
achieve the same result in some situations by scaling the image down to an
appropriate size. You can add up to four overlays, each of which is a separate
layer. For more information, see
The following are some examples:
• Props that add dimension to the scene
• Doors, pillars, and so on, from behind which the subject enters
• Titles, lower thirds, and captions
• Watermarks and semitransparent logos, such as those that often appear in
a lower corner of the frame in a television program
www.adobe.com/support/ultra.
“Adding overlay layers” on page 66.
icon
Layers, inputs, and virtual sets 23
Active layer
To manipulate a layer by using any of the tabs, the layer must be the active layer. To make a
layer the active layer, either click its thumbnail or select it from the list below the Input
Preview Monitor. The active layer is displayed in the Input Preview Monitor, and the light
next to the layer’s thumbnail image is bright (lit) green .
A) Active layer B) Source for active layer C) Assign new source to active layer D) List for choosing
active layer
The Overlay option appears in the list below the Input Preview Monitor only if an overlay
source is assigned. From this list, you can also select Live Preview, which is intended only for
setting up a shot and confirming that it will key well. For more information, see “Shooting
video for Ultra” on page 57.
The Browse button provides one of several ways to assign a source to the active layer. For
more information, see “Assigning source content to a layer” on page 63. To determine which
folder a source came from, click the Browse button to open a dialog box that shows the
source’s current location.
To make a particular inset or overlay the active layer when two or more of them are in a
session, click the field above the thumbnail, and select the layer from the list. If you use the
list below the Input Preview Monitor to select Inset or Overlay, the currently selected inset or
overlay layer becomes the active layer.
Assigning a source to a layer by dragging the source to the layer thumbnail does not make that
layer the active layer.
Virtual sets
Virtual sets range from simple to complex. Virtual sets in the Basic folder are the simplest;
they are essentially blank sets for which you assign the background and up to four overlays
and four inset sources. Only the insets in these virtual sets have a predefined size and position,
and you’ll probably want to customize those settings.
24 Product overview
The “Corner Office Monitor to Talent - Pause at Beginning (Trak) Sitting” virtual set is one
of the most complex sets in all of the Master Sets Libraries. This virtual set starts with a pause
point on an inset, and then performs a virtual camera move to the subject, which is
composited between two predefined layers: a desk in front and a wall of windows behind
looking out on a cityscape.
A Master Set is a collection of virtual sets with a unified appearance and layout, each of which
is essentially a different perspective on the same 3D environment. A virtual set file from one
of the Master Sets Libraries (MSLs) defines a group of inputs and their positions, some of
which are predefined and others of which you assign. Designations for insets are consistent
throughout a Master Set. For example, Source D in one set is in the same relative position in
any other set from the same Master Set that uses a Source D. That’s why the insets in some
sets do not start at Source B.
The virtual sets provided with Ultra have a file extension of .mfx.
Each virtual set has a native frame aspect ratio. In most cases, you should match the frame
aspect ratio of the virtual set to the frame aspect ratio of the session as set on the Output tab.
However, Ultra lets you mix them if that suits your purposes. You will find 16:9 sets in the
Basic folder on the Virtual Sets tab.
NOTE
With the exception of those sets labeled 16x9, Ultra Master Sets use a 4:3 frame aspect
ratio. For instructions on converting this aspect ratio for a widescreen session, see
Tutorial #15 “Using 4:3 sets in a 16:9 project” on the Ultra support website,
www.adobe.com/support/ultra.
The name of a virtual set provided as a part of the Master Sets conveys the following
information:
The first word or two indicates the master set to which the virtual set belongs.
This is usually followed by a description of the shot, typically the camera number or
position. VirtualTrak sets are an exception, with names that typically describe the camera
movement (for example, “Monitor to Stage” or “Dolly to Bookcase”).
NOTE
VirtualTrak is a proprietary feature included in some of the Ultra Master Sets Libraries. It
provides virtual camera movement with a more realistic tracking motion than standard
pan and zoom. This movement is not reproducible in custom-built virtual sets. Ultra
virtual sets with “Trak” in the title have VirtualTrak functionality included.
This is followed by text that indicates if there’s a foreground element or if the VirtualTrak
shot includes a pause point. For more information, see
“Setting a pause point for a
VirtualTrak effect” on page 107.
Layers, inputs, and virtual sets 25
This is followed by the type of framing enclosed with parentheses: Tight, Medium, Wide,
or Sitting. VirtualTrak effects are designated as “Trak”. For these, you should preview the
tracking shot to determine its final framing. Virtual set names that have nothing in
parentheses display the input clip (Source A) in an inset. In this case, any framing will
work.
A) Tight: Designed for the subject to be framed from the chest up. B) Medium: Designed for
the subject to be framed from the waist up.
C) Wide: Designed for the subject to be standing,
visible from head to foot, and possibly scaled down.
For instructions on assembling a set using your own graphics, see “Creating elements for a set
or individual layers” on page 68.
For more information, see the following sections:
“Input area and Input Preview Monitor” on page 28
“Creating and assigning sources and virtual sets” on page 57
26 Product overview
User interface
This section provides an orientation to the controls and displays that you use in Adobe®
Ultra®.
A) Input area B) Output area C) Controls area
The Ultra interface consists of the following main regions:
The input area in the upper left consists of the Input Preview Monitor and several
controls that you can use to assign sources, select the active layer, preview the source
content, and select tools for setting the key and panning and zooming. For more
information, see
The output area in the upper right contains the Output Preview Monitor, which displays
the composited image, and controls for previewing the session. For more information, see
“Output Preview Monitor and previewing the output” on page 31.
“Input area and Input Preview Monitor” on page 28.
User interface 27
The set of tabs along the bottom of the window serve many purposes. The six tabs on the
left are for setting the key and making all of the necessary adjustments to the layers and
sources. Near the center, the Output tab is for setting session properties and rendering the
final composited movie. The tabs on the right provide access to libraries of virtual sets,
sessions, and output movies and graphics. For more information, see
“Tabs” on page 35.
Input area and Input Preview Monitor
The input area consists of the following displays and controls related to the active layer and its
assigned source:
The layer thumbnails on the right are for choosing and showing which layer is the active
layer.
The Input Preview Monitor displays the source that’s assigned to the active layer.
The buttons below the Input Preview Monitor are for selecting the tools to change the
view, set keying points, and paint a mask.
The transport controls and slider are for previewing the active layer’s source.
The two fields below the slider are for selecting the active layer, assigning a source to it,
and displaying the name of the layer and the source.
The Input Preview Monitor displays the source assigned to the active layer. This monitor
shows the results of keyer and color correction settings and any masking if the input clip is
selected. The settings for the size, position, and orientation for the layer plane or the source
do not affect what is shown in the Input Preview Monitor.
28 Product overview
You can view the Input Monitor with its original, unkeyed background or with the
checkerboard alpha background. To switch between these display modes, choose View >
Input Clip Preview Background, and then choose either Original Source or Alpha Grid.
A white rectangle in the Input Preview Monitor and Output Preview Monitor identifies the
action-safe area. Content outside this area may not be visible if the output movie is viewed on
a television. To show or hide the action-safe overlay, choose View > Safe Area Overlay or press
Alt+S.
For more information, see “Magnifying and repositioning the view in the monitors”
on page 33.
Layer thumbnails
The small images to the right of the Input Preview Monitor are thumbnail images of the
sources assigned to each layer. Clicking a thumbnail for a layer makes it the active layer. If
there are multiple insets or overlay layers, you can select among them by using the list above
the thumbnail. You can assign a source to a layer by dragging the source to the appropriate
thumbnail image.
Thumbnail graphics: If no image icon is present, you will see the following symbols
representing the available actions for the current set:
This layer requires a source for the current set, but none is currently assigned.
This layer is available for the current set, but no source is currently assigned.
No source can be assigned with the current set.
LED icons next to the thumbnails: The status of each layer is indicated by a light next to the
layer’s thumbnail image.
Bright (lit) green : Layer is the active layer.
Dark (unlit) green : Layer has content assigned, but is not the active layer.
Ye ll ow : Layer is optional and has no source content assigned.
Red : Layer is not used in this session.
User interface 29
The Background and Input Clip thumbnails have right-click menus with which you can
switch from a given source to a white, black, or checkerboard image and back again. For the
Background thumbnail, these images can help you analyze the quality of the key for the input
clip. For the Input Clip thumbnail itself, you may want to switch to one of these alternate
sources to see the size, position, and orientation of the input clip’s plane. However, assigning
a new source in this fashion can cause you to lose a custom mask that you’ve painted.
For more information, see the following sections:
“Layers, inputs, and virtual sets” on page 22
“Assigning content to layers” on page 63
Controls under the Input Preview Monitor
A) Current time B) Tra ns po r t c on t ro ls C) Preview slider D) List for selecting which layer is the
active layer
Current time: If the source assigned to the active layer is a video clip, then this field displays
the current time in the video clip. This is an interactive field. You can type a timecode to
jump to a specific time in the clip.
Transport controls: Standard controls for playing and navigating video clips.
Preview slider: This is the slider for manually previewing (scrubbing) video clips.
Active Layer list: Shows which layer is the active layer. To select a different layer to be the
active layer, either select it from this list or click its thumbnail.
Current source: Shows the name of the file assigned as the source for the active layer. To
change the source, type the name of another file in this field.
Browse button: Opens the standard Windows dialog box for selecting a new source. You can
also use this button to check the path of the current source.
E) Source for active layer F) Select new source for active layer
Tool buttons
Click the buttons along the bottom of the Input Preview Monitor to activate the following
tools.
30 Product overview
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